RETUNING OUR AMBITION FOR MUSIC LEARNING - EVERY CHILD TAKING MUSIC FURTHER - A Ten-Year Vision from The Music Commission
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RETUNING OUR AMBITION
FOR MUSIC LEARNING
EVERY CHILD TAKING MUSIC FURTHER
A Ten-Year Vision from The Music Commission
A Ten-Year Vision from The Music Commission
Foreword
Music is all around us. Whether heard, sung, played, The Music Commission report is offered as a positive
streamed, broadcast, experienced live or accessed contribution to an already long and rich debate. Its
through ever more diverse technology, it is a basic, one question is: how can we fundamentally retune
elemental part of our lives. Music is a stimulus to our ambition for music learning by focusing on the
memory, an expression of our deepest emotions, and need for progress and progression routes? As our
a way of collaborating with others. We know that the report shows, there are many improvements, links to
impact of a thrilling musical experience can stay with connect our resources, detailed initiatives that can
us for ever. bring us closer to the aim of providing routes into
music for all.
How do we build on this excitement, and explore
further? For music is also a craft to be learned, a Our one aim is to unlock creativity in everyone,
skill to be developed. Participating in the act of with the belief that this will benefit individual skills
making music is one of the most inspiring of human and community activity, generating soft power and
activities and mastering the technical art of music is business skills that build long-term economic benefit.
a challenge that brings huge rewards. But in recent We thus release the power of music in the service
years the routes into learning music have changed of today’s world, where the depth, perspective and
radically, because the ways in which music comes to humanity that music brings is not an option, but an
us have been transformed. Are our learning journeys ever more urgent necessity.
now in danger of becoming out of step with the
reality of how people engage with music today?
The very stimulating discussions we have had as
colleagues in this Music Commission have brought
forward this one specific issue, that of progression.
How can we find diverse routes of exploration,
offering development and music learning that is
supported and nurtured both inside and outside the Sir Nicholas Kenyon
formal education system, in ways that reflect the Chair, The Music Commission
energy and diversity of today’s world?
The good news is that solutions exist. We have seen
excellent good practice, which can be studied and
disseminated. But we need a more collective and a
more connected approach to creating these pathways
and taking them forward. We need a concerted effort
through advocacy, and inspiring role models, to prove
once and for all the enduring value of this activity.
2 RETUNING
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A Ten-Year Vision from The Music Commission
Contents
Summary 4
Outcomes for the 2020s 6
About The Music Commission 10
Our research programme 14
What do you want to do next with your music? 16
The case for musical progress 18
Retuning our ambitions 22
What does it mean to make progress in music? 24
What are the conditions for effective progress to be supported? 26
Retuning our ambitions for music learning: Outcomes for the 2020s 27
1. Leaders in schools and education are confident and enabled to put music at the heart
of their students’ learning 28
2. Every school is supported to provide an effective music curriculum and the provision
of a quality music offer is a key performance measure 32
3. The development of a diverse and skilled music education workforce is extended through
enhanced training of specialist and generalist teachers, and support to enter the profession 36
4. Financial support is universally available to support all music learners to progress
beyond first access 40
5. More collaborative models of music education are established, involving support for and between
schools and relevant partners to help students to progress in music 44
6. Parental engagement is supported as a priority from the earliest years onwards 48
7. Young people are informed and engaged in shaping their own learning pathways and
involved in the development of music education programmes 52
8. New, integrated approaches to the teaching and assessment of learning of music
in a digital age are developed 56
Putting our ambition to work: Next steps for music education 60
Endnotes 62
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A Ten-Year Vision from The Music Commission
Summary
Retuning Our Ambition for Music Learning: A Ten-Year Vision
Every school is supported to provide an effective
music curriculum and the provision of a quality
music offer is a key performance measure
Leaders in schools and education are confident
Every youn
and enabled to put music at the heart of their
students’ learning regardless of b
circumstances,
realise her or h
poten
New, integrated approaches to the teaching
and assessment of learning of music in a digital
age are developed
Young people are informed and engaged in shaping
their own learning pathways and involved in the
development of music education programmes
4 RETUNING OUR AMBITION FOR MUSIC LEARNING
A Ten-Year Vision from The Music Commission
The development of a diverse and skilled music
education workforce is extended through
enhanced training of specialist and generalist
teachers, and support to enter the profession
ng person, Financial support is universally available to
support all music learners to progress beyond
background or first access
is supported to
his full musical
ntial.
More collaborative models of music education
are established, involving support for and
between schools and relevant partners to help
students to progress in music
Parental engagement is supported as a priority
from the earliest years onwards
EVERY CHILD TAKING MUSIC FURTHER 5
A Ten-Year Vision from The Music Commission
Outcomes for the 2020s
1 2
Leaders in schools and education Every school is supported to
are confident and enabled to provide an effective music
put music at the heart of their curriculum and the provision
students’ learning of a quality music offer is a key
Key recommendations: performance measure
• National Centres for Leadership in Music Key recommendations:
Education, established through the nomination
• School inspection and assessment models
of lead organisations in respective countries,
acknowledging the importance of music, cultural
working in partnership with teacher training
education and creativity that builds on prior
bodies, institutions of tertiary education and wider
knowledge and sets young people up to succeed
leadership programmes in education to embed and
in further study and life beyond. Schools that are
develop leadership skills in the music education
judged “outstanding” or high performing should
sector
have a rich creative arts provision including music as
• The appointment of national Music Champions, part of their “broad and balanced” curriculum. This
working with each of these Centres, to promote should be supported by a wider dissemination and
music education, progression and quality in the transparency of best practice in music identified by
teaching and learning of music; to encourage school inspection services though periodic national
stakeholders to work effectively together; to advise reports and case studies
governments on action they and others could take to
• National curriculum models for the subject of
encourage a more conducive environment for music
Music, building on existing best practice to guide
education; and to motivate schools to place music
teachers and school leaders towards the specific
and creative education at the heart of their offer
knowledge and skills that music education should
• Music in Schools Awards. The development help students achieve at each stage of their musical
of schemes, building on existing initiatives, to learning. Music services and music organisations,
recognise and celebrate best practice in schools and Music Education Hubs, providing increased
built upon simple and readily evidenced criteria support for the music curriculum in alternative
such as having a specialist music teacher; an settings, such as special schools, pupil referral units
attached musician, composer or ensemble; and hospital schools to ensure equity of provision
engagement of the local music bodies in
• New contemporary materials to ensure
supporting progression; weekly timetabling of
that support for progress is at the heart of
music within the core curriculum; extra curricula
music learning in schools. This will involve the
choirs and ensembles; and support for students
development, by local and national partners and
and parents at points of transition.
publishers in music and music education, of a range
of high-quality tools and resources for schools
that provide the guidance and clarity for teachers
on how to teach and assess the fundamental
components of music.
6 RETUNING OUR AMBITION FOR MUSIC LEARNING
A Ten-Year Vision from The Music Commission
3 4
The development of a diverse Financial support is universally
and skilled music education available to support all music
workforce is extended through learners to progress beyond first
enhanced training of specialist access
and generalist teachers, and Key recommendations:
support to enter the profession • Free school-based instrumental tuition for all.
Key recommendations: In reviewing the structure and funding of Music
Education Hubs in England and music services
• A re-evaluation of the focus and content of initial elsewhere, evaluate the available resources among
teacher training (ITT) for music to include more education services, arts organisations and other
music training time allocated in PGCE courses relevant bodies to align and direct more funds
and all music teacher training to have a focus towards progression. This should include guaranteed
on progression, including time for music in the four-year agreements for the funding of Music
proposed two-year PGCEs in England. Higher Education Hubs and music services contingent on
expectations of recruits to primary ITT, and more agreed key outcomes for inclusion and progression
funding for specialist primary school music teachers
• The establishment of National Progression in
• National and local music teacher networks, to Music Challenge Funds and non-statutory and
promote peer learning, guidance and support, with philanthropic financing opportunities open to
the aim of forging far more effective connections schools and local and regional partners to pioneer
for classroom, peripatetic and independent music and evaluate new approaches to supporting
teachers and schools to support progress and build progression in music and developing local and
common purpose and understanding regional ensembles
• Independent music teachers to be better valued • Music Premiums. The introduction of government
as part of provision, integrating them through schemes to support music in primary schools,
voluntary registration and accreditation into music with funding for music in schools more effectively
teaching focused on supporting progression, targeted at integrated first access and progression
recognised by governments and music services programmes and more active use of the Pupil
Premium and comparable schemes to support
• Every secondary school with at least one music
disadvantaged pupils.
specialist teacher on its staff and initial teacher
training for all primary school teachers, combined
with improved programmes of accredited
continuing professional development in music
offered locally and nationally
• The development of a diverse music education
workforce with support for a much wider range
of young people to enter the teaching profession,
in or out of school, with paid internships and
apprenticeships.
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A Ten-Year Vision from The Music Commission
Outcomes for the 2020s
5 6
More collaborative models of Parental engagement is
music education are established, supported as a priority from the
involving support for and between earliest years onwards
schools and relevant partners to Key recommendations:
help students to progress in music • Dynamic local and regional online Music Maps
Key recommendations: that provide accessible tools and guidance for
parents and learners to see the formal and informal
• National Music Education Plans setting out opportunities available for them to develop their
national aims and expected outcomes, specifically musical interests, broaden their experiences and
setting a clearer framework for collaboration and make progress
implementation of local music education plans
founded on partnerships working to deliver local • The establishment of national and regional Early
progression strategies, engaging schools, music Learners’ Music Forums bringing together emerging
organisations, other education establishments and initiatives and including broadcasters, online
local musicians and independent music teachers content developers and educationalists to support
pre-school music learning and provide resources for
• The establishment of Research and Knowledge parents, nursery schools and childminders
Exchange Centres for progression in music
education, run in each country by existing academic • Targeted broadcast and social media information
and expert organisations and in England in enabling parents, carers and young people, led by
partnership with Arts Council England, to generate schools in partnership with music organisations, to
research, promote best practice and innovation on access authoritative guidance on the wider benefits
the learning of music, funded by Research Councils, of music and the value of music education for child
lottery funding, other charitable and philanthropic development and well-being.
sources; working alongside and supporting the
Music Champions to develop locally-available
resources supporting progress in music
• New schools’ partnerships, involving groups of
primary and secondary schools, and bringing
together networks of teachers, working together
to define a locally-agreed curriculum to promote
access, inclusion, diversity, progress and greater
consistency in content and approach for pupils
• Collaboration, alignment and partnership in
support of local need is a stipulation of the funding
for arts and music organisations, including in
England through Arts Council England, National
Portfolio Organisations, recipients of project grants
and Music Education Hubs. This will require building
further on support from Music Education Hubs and
others to ensure that learning provision by National
Portfolio Organisations is closely aligned to local
need and activity.
8 RETUNING OUR AMBITION FOR MUSIC LEARNING
A Ten-Year Vision from The Music Commission
7 8
Young people are informed and New, integrated approaches to
engaged in shaping their own the teaching and assessment of
learning pathways and involved learning of music in a digital age
in the development of music are developed
programmes and initiatives Key recommendations:
Key recommendations: • A UK Digital Research and Development Fund for
music, piloted through an organisation such as
• A requirement placed on music organisations
the Arts & Humanities Research Council, for music
to involve young people and to act on their
education, funding three-way partnerships between
views to bring about a shift in music education
music organisations, tech companies and academic
culture; one that values young people’s voices
researchers to test new ways that technology can
and, in appropriate cases, a grant condition for
be used in music education, drawing on the lessons
music organisations to consult and report on this
of the Digital R&D Fund for the Arts in England
involvement in their planning and programme
delivery • A Technology in Music Competition, piloted by
the music industry, to showcase the most exciting
• Dedicated and youth-led spaces provided for young
uses of technologies in making music by young
people’s learning in local centres and schools,
people across the UK. This to specifically lead to
supporting the creation and exploration of music
the creation of champions and role models – led by
equipped with the technology to connect young
young people themselves - to connect learners to
people in their music making and creativity
new technologies for music learning and teaching
• Best practice guides and case studies on the
• A Music Education Digital Forum spearheading new
engagement of the voice of young people in
UK-wide partnerships with the music industry, tech
music education delivered through Research and
companies and music educators to identify best
Knowledge Exchange Centres for progression,
practice, jointly develop standards and resources for
including conducting regular national and regional
the development of innovation in music education
surveys of the views, ambitions and musical
resources to catalyse the use of technology, develop
aspirations of young people facilitated by arts
support and tools for schools.
councils, music services and other music education
providers.
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About The Music Commission
The Music Commission was established by the Our approach has been to seek to review the
Associated Board of the Royal Schools of Music evidence to better understand the routes into and
(ABRSM) and Arts Council England to examine how through musical learning, in order that these support
people from all backgrounds, especially young needs can be addressed as people move through the
people, can be the best they can be in music. And we stages of learning music. This is as relevant to music
focus on young people in this report because that’s learners in Singapore as it is to learners in Scotland.
where it all begins. Because we know that getting To this end, we have carried out independent analysis
it right in those first stages is the platform for a with the goal of making practical and realistic
lifelong interest in music making, participation and recommendations for policy makers and leaders at all
performance. levels in education both in the UK and globally.
We started from the premise that making progress in The Music Commission is chaired by Sir Nicholas
music matters. Making music to the best of our ability Kenyon, managing director of the Barbican Centre,
enriches and connects us. It unlocks talents and skills former director of the BBC Proms, and former
that we use every day that benefit us throughout controller of BBC Radio 3.
our lifetimes. At the pinnacle, it generates significant
The Music Commission’s Panel members are artists,
economic value.
chief executives, academics, economists, music
But progress is also complicated. In or out of school, educators and leaders, each with influential roles in
there are many factors that affect whether we can the music and arts world. They have expert insights
reach our musical potential. Assessing how progress into the different ways that music is taught and
can be supported is kaleidoscopic in its nature, learned, and all work to promote the value and role
considering home environments, geographies, of music today.
finances and funding, school structures, teaching,
community music resources, learning styles, and the
rapid pace at which technology is changing amongst
many other factors.
Our work has explored the conditions in which
progress in music can be better sustained, including
looking at barriers, assessing best practice and
identifying the support that needs to be in place. It
has taken us to schools, community groups, choirs,
bands, ensembles and orchestras to name a few. Our
team has spoken to and heard from people from
all backgrounds, those at the top of their musical
careers as well as those playing their first notes and
singing for the first time in a choir. Whilst our inquiry
and findings have taken us to every corner of the UK,
much of what we have found applies to the learning
of music wherever it takes place.
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The Panel members are:
Dr Sam Aaron - Research associate, Nick Mulvey - Musician, singer and
Wolfson College, University of songwriter
Cambridge, live coder and founder of
Sonic Pi
Hasan Bakhshi MBE - Executive Director, Paul Roberts OBE - Chair of the board of
Creative Economy and Data Analytics, directors for the Innovation Unit, vice-
Nesta and Director, Creative Industries chair at Mountview Academy of Theatre
Policy and Evidence Centre Arts and Nottingham Contemporary,
national council member, Arts Council
England
Carolyn Baxendale MBE - Head,
Bolton Music Service, leader of Greater Nitin Sawhney CBE - Artist, producer,
Manchester Music Education Hub songwriter, club DJ, broadcaster, multi-
instrumentalist, and orchestral composer
Professor Pamela Burnard - Professor Abel Selaocoe - Cellist, improviser, co-
of Arts, Creativities and Education, founder of BBC Introducing artists’ world-
University of Cambridge folk-fusion quintet Kabantu
David Whelton OBE - Former managing
Sam Jackson - Managing editor, Classic
director, Philharmonia Orchestra
FM and Smooth Radio
Mary King - Singer, educator, vocal
Claire Whitaker OBE - Director of live
coach, writer and broadcaster
music producers Serious and the EFG
London Jazz Festival.
Suzy Klein - Writer and presenter, BBC
Radio 3
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We would also like to acknowledge the valuable support and input from a great many
people and organisations; experts and researchers, leaders and professionals who have
been with us on our journey to explore musical progress. These include:
ABO (Association of British English Folk Dance and Song National Youth Folk Ensemble
Orchestras) Society
National Youth Jazz Orchestra
Artforms Music, Leeds English National Opera
National Youth Orchestra of Great
Arts Award ENO Baylis Britain’
Attitude is Everything Great Yarmouth Community Trust NESTA
Aurora Orchestra Griffin Schools Trust Newham Music
Awards for Young Musicians Guildhall School of Music & Drama Nottingham Music Hub
Barbican Heads Together OHMI (One-Handed Musical
Instrument Trust)
BBC Help Musicians UK
Opera North
Birmingham City University ISM (Incorporated Society of
Musicians) Orchestras Live
Birmingham University
Jukedeck Paul Hamlyn Foundation
Blackheath Conservatoire
Leicestershire Music Hub Piano Teachers’ Hour
Bolton Music Hub
London Music Fund Professional Association for
Bournemouth Symphony
Childcare and Early Years
Orchestra Luminate Scotland
RAM (Royal Academy of Music)
Bristol Plays Music Making Music
RCM (Royal College of Music)
CBSO Community Choir MEC (Music Education Council)
RNCM (Royal Northern College of
Choir Schools’ Association MERYC (Music Educators and
Music)
Researchers of Young Children)
Classic FM
RCS (Royal Conservatoire
Music Mark
Cornwall Music Education Scotland)
Musicians’ Union
Creative Futures RPS (Royal Philharmonic Society)
National Open Youth Orchestra
Creative Learning Alliance Serious
National Polish Choir Sing Up
Drake Music
National Teachers’ Choir
Durham Music Service So Vocal
National Youth Choirs of Great
Education Authority Nort
the
hern
rn
Northern Sonic Pi
Britain
Ireland
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Sound and Music Special thanks: Sir David Carter, former National
Schools Commissioner
Sound Connections Lincoln Abbotts, Executive
Director, ABRSM Professor Sir Geoff Hampton,
Steinberg
music education and policy
Daniel Harris, Managing Director, consultant
The Cathedral Choir Association
DHA Communications.
The Garage Trust DHA Communications team:
Nigel M Taylor, music education Natasha Theobald, David Casey,
The Roundhouse consultant Jon Flinn
The Society of Teachers of Speech Philippa Bunting, Learning and ABRSM team: Emily Field, Nerissa
and Drama Qualifications Director, ABRSM Taysom, Xandrija Edwins, Celia
Dr Jennie Henley, Area Leader for Stephens, Claudia Lee
Tri-Borough Music Education Hub
Music Education, Royal College of Thanks to Arts Council England for
UCL Institute of Education Music their generous support
University of Cambridge David Barton, Research
University of Edinburgh Consultant
University of Nottingham Marcus Davey OBE, Chief
Executive and Artistic Director,
University of Southern Queensland Roundhouse
Wired4Music Stuart Whatmore, Head,
Tri-borough Music Hub
Wolverhampton University
Yong Siew Toh Conservatory of
Music, Singapore
Youth Music
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Our research programme
The aim of The Music Commission’s research • Evidence review: The purpose of this strand of
programme has been to inform the Panel’s research has been to explore recent literature and
discussions and provide an evidence base for its draw out key themes and findings related to musical
recommendations, grounding our work in the most progress. It cross referenced empirical work with a
pertinent recent research. The total number of larger sample of research studies to see whether
participants in the research studies reviewed is 10,104. our sample reflected the issues identified on a
larger scale. A Rapid Evidence Assessment (REA)
The research programme has involved four strands: provided an informed conclusion on the volume and
• Field notes: From the launch of The Music characteristics of the evidence base together with
Commission, many conversations with practitioners, a synthesis of what it indicates following a critical
experts and music learners have been recorded and appraisal.1
collated to explore the field, identify stakeholders, • UK-wide survey: The Music Commission also carried
and steer the direction of the research programme out a UK-wide survey of 2,009 people to better
and development of research questions. This has led understand the incentives for continuing to learn
to: music and the barriers that stop people making
• Empirical work: The purpose of the empirical work progress. Conducted in February 2019 by Walnut
has been to provide a picture from the field about Unlimited (formerly ICM), the survey asked the key
current ideas on progression. New empirical data factors responsible for people continuing to learn,
has been collected via a survey exploring what the benefits of making progress and what would
supports and stands in the way of progression; and most help them make progress now.
targeted focus groups, each of these producing Together, these research strands have formed the
collaborative statements that summarise structure and themes that are developed throughout
perspectives on progression. In particular, The Music Commission’s report. A separate research
research participants were asked to reflect on the report is being published following The Music
opportunities and barriers available to them or Commission’s main report later in 2019.
music learners in relation to four identified impacts
on musical progress: people, places, pathways and,
points in time. This has led to:
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Research Reference Group
The Research Reference Group has been made up Frances Howard is a Doctoral researcher
of leading academics working in the fields of music from The University of Nottingham’s
education and cultural policy. It was chaired by School of Education.
Professor Pat Thomson (University of Nottingham).
The role of this group has been to peer-review,
advise and provide a scholarly underpinning to the Dave O’Brien is the Chancellor’s Fellow
Commission’s research. in Cultural and Creative Industries at
The Research Reference Group comprises the the University of Edinburgh.
following academics:
Professor Pat Thomson is Professor of
Education in the School of Education
at The University of Nottingham. She Stewart Riddle is Senior Lecturer in the
researches the arts and creativity and School of Teacher Education and Early
their role in school and community Childhood at the University of Southern
change. Queensland.
Professor Martin Fautley is Director of
Research in the School of Education
and Social Work at Birmingham City Emily Winchip is a Doctoral researcher
University. at the University of Nottingham and
the recipient of a Vice-Chancellor’s
scholarship.
Dr Jennie Henley is Area Leader for
Music Education at the Royal College of
Music, London.
Professor Susan Hallam MBE is Emerita
Professor of Education and Music
Psychology at the UCL Institute of
Education.
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A Ten-Year Vision from The Music Commission
To start learning the guitar
Sophie, singer
Christiana, clarinet
Create a conce
Lejitt, rapper
Carry on loving playing
Keep learning about Chelsea, tenor saxophone, jazz composer
musical theatre and arranger
George, singer
What do y
To play for myself and to
play for everyone as well to do
with you
Sydney, keyboard, trombone and guitar
Get my band back
together
Phil, director Bristol Music Trust
Go play in front of the Queen
Kate, violin
Join an orchestra playing
the clarinet
Rachel, piano and clarinet
16 RETUNING OUR AMBITION FOR MUSIC LEARNINGI would like to play
Get a bit better with the saxophone
music tech Lily, singer
ept video Claire, organist and teacher
Go on a singing show like
The Voice Kids
Scarlett, singer
I want to write a big full-
size full-length opera
Cheryl, composer
you want
o next
Go further in my
ur music? career of flute
Joy, flute
Play in
professional
orchestras
Morgan, violin
Combining electronic pop
music, experimental stuff
with the more classical
Benjamin, composer
Continue to ... empower
primary teachers
Learn more notes Laurel, assistant head teacher
Harjeet, clarinet
EVERY CHILD TAKING MUSIC FURTHER 17A Ten-Year Vision from The Music Commission
The case for musical progress
Why does it matter that
everyone has the opportunity to
make progress in music?
Our case is a simple one. If every one of us can take
Well-being, including
our music further, we will all benefit; individually, as personal satisfaction (58%) and
communities and, as a society. fun (46%) are seen as the biggest
Music can have a transformative impact on benefits of learning music.
an individual’s life. A child’s first experience of
music should be a magical one and the start of a The Music Commission survey by Walnut Unlimited
journey that, with the right support, can provide (formerly ICM) 15-18 February, 20194
unimaginable rewards. Studies show that learning
music builds skills, knowledge and understanding,
which go far beyond music itself. Playing an
instrument or singing instils confidence and boosts
academic attainment. Young people who have the
application and discipline to progress in music reap
huge personal gains, developing their creativity and Music is our community. Participation in music in the
personal growth. community offers people of all ages and abilities the
chance to enjoy singing and making music together
We know that young people make progress in music in a and improve their skills individually and collectively.
wide range of settings. Wherever they take place, those The pleasure, freedom of expression, and social
initial inspiring experiences of music be they at home, in support afforded by a choir, for example, is known to
the community or at school, are central to providing the develop stronger social bonds.
impetus for study and skills development.
Music is a means by which we experiment with our
Music develops our cognitive powers. Recent compelling bodies, exploring our capabilities, testing the limits of
evidence2 shows that musical training sharpens the our dedication, concentration and resolve. For some,
brain’s early encoding of sound leading to enhanced music is a route into the world of study and work,
performance on a range of listening and aural a world to be examined and explored, a journey of
processing skills which in turn contribute to enhanced knowledge, ambitions and fulfilment. For others it will
verbal memory, language skills and enhanced literacy, be an enriching, constant background to their lives.
verbal and spatial reasoning and higher levels of Each route is valuable. Each should be supported.
performance on measures of intelligence.
In a world where resilience and adaptability are ever
Music is our physical and spiritual well-being. Research more important, learning music gives young people
shows the wider social, emotional and physical benefits flexibility, lateral thinking, and a creative approach
that come from participation in music, through which to problem-solving. Amidst huge technological
musical activities function as safe and enjoyable advances and a rapidly changing global economy,
collaborative spaces where social barriers are broken analysts predict that adaptable skills will be the key
down, emotions can be expressed, and confidence to maximising the opportunities ahead. Emotional
built3. In this way, music is a support and health for intelligence and innovation are now widely seen to
our minds and bodies, a means of therapy, a route to be the essential attributes people need to ensure
emotional, physical and psychological happiness. economic competitiveness in this fast-changing
world. Many economies have recognised this and are
investing heavily in developing these creative skills
for the future workforce to meet changing labour
market demands.
18 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
Music is vital to economies. In the UK alone, the schools, the demands being placed on parents to
music industry is worth an estimated £4.5bn a year5 pay to support their child’s progression in music, and
and projects its “soft power” around the world. the varying quality and nature of music education
Among the big success stories is its recorded music provision is contributing to a narrowing of the
sector which saw a rise of 9% to £700 million and demographic of those able to continue to learn
music publishing which grew by 7% to £505 million in music and achieve their potential. This trend, if not
the year to 20176. addressed, will have adverse effects on individual,
community, societal and economic development.
Successful British acts including Jess Glynne, Ed
Sheeran, Dua Lipa, Rag’N’Bone Man, Stormzy, and
Depeche Mode helped exports of UK music increase
over the same period by 7% to £2.6 billion7. Those
attending concerts, from festivals to local music
venues, helped live music contribute £991 million
to the UK’s economy8. At a time when our global Lack of
relationships and economic partnerships are ever
more important, the role music plays in nations’ opportunities and
economies is essential.
So, whilst learning and making progress in music is
cost are seen by the public as
invaluable for the skills and connections it develops, the two biggest barriers to them
it is also essential that we better prepare young taking their music further.
people to shape and profit from the expansion
of opportunities that music itself offers to those The Music Commission survey by Walnut Unlimited
who develop their talents. Because, by supporting (formerly ICM), 15-18 February, 20199.
everyone to achieve their potential in music, we
increase the pipeline of talent that can reach the
top. Beyond the value of music as a discipline in
its own right, therefore, the economic case for
supporting the musical progress of all young people is
incontrovertible. In the UK, we have seen much evidence of extensive
We believe that we have a shared responsibility to best practice in both formal and informal music
support the development of musical skills, knowledge education. This excellence is often led by highly
and technique in the widest range of settings. We motivated, inspirational leaders, teachers and
therefore make the case that all young people should musicians, and parents, and can equally involve
have an equal opportunity, regardless of income or self-study and the creation of home-made music
geography, to be the best they can be in music. We through digital means. Common features that enable
know talent exists across society and we need to excellence to flourish, however, are early access to
ensure equal opportunities for that talent to grow music, a solid grounding in musical knowledge and
and flourish to the benefit of all. skills and the investment of time and resources into a
learner’s musical development. Successive governments
However, for those children who must overcome have taken significant steps in providing first access
social, educational, cultural or physical hurdles and to music making for millions of children. Yet this
find themselves disadvantaged in their pursuit of enormously worthwhile investment does not bear fruit
music at a young age through no fault of their own, unless it is part of a connected approach that leads to
the challenges are ever greater. There is excellent dedicated and consistent support for all learners who
work being undertaken in many areas, but the loss wish to continue beyond these initial experiences.
of opportunities for the learning of music in many
EVERY CHILD TAKING MUSIC FURTHER 19A Ten-Year Vision from The Music Commission
It is, therefore, this matter of supporting progress in There is insufficient support beyond first access
the learning of music that has been the focus of our programmes for learners who wish to progress their
deliberations and which lies at the core of our report music education.
and recommendations.
An individual’s interest in music may be significant
Our review of the available evidence and but increasingly, within schools and on the move
consideration of expert testimonies has identified from primary to secondary education, music is
what we believe are the barriers that must be deprioritised as a focus on standard assessment tests,
overcome in the coming years if all people are to examinations, measurement of school performance
enjoy a truly equal opportunity to make musical and league tables takes over.
progress. We acknowledge that many organisations
and individuals are overcoming these barriers, but Schools need greater support in delivering a rich
that the solutions are not available to all. There is no music curriculum that focuses on key musical skills.
simple, single answer. These challenges are complex There is presently too little guidance provided as to
and interrelated and we recognise that tackling them the range and detail of musical skills that are needed
is no simple task. This is why we suggest a long-term in the school curriculum, and the support needed
framework for addressing them. to deliver it. Whilst there need not be a single music
There is a wide inconsistency of music provision in curriculum taught in all schools, there is a need to
schools. assist schools to develop their own music curriculum
that provides for challenge and encourages
Some schools have a philosophy of music for progression.
everyone, where learners’ needs are identified and
supported, whilst others provide hardly any music at Resources and organisations are not working
all. We need to understand why this occurs, and how together effectively enough to support every
it can be improved. learner to progress,
The cost barriers to families represent a significant including by linking and aligning the wide variety
inequality of access to music education. of routes for learning. Schools should be supported
to commission the full range of resources available
Parents on low and middle incomes may not be able from local cultural and other sectors in order to
to allocate the funds needed for their children to enhance learners’ musical experiences, and work with
pursue their musical interests. At the same time, in arts-based providers to build those resources into
many areas, the provision of music teaching funded provision. Outside of their school-based activities
by local authorities has decreased significantly or there is significant inconsistency in the opportunities
disappeared altogether. and spaces for young people to develop their
individual and collective music making.
There has been an inadequate response to how
young people use technology in their experience of
music.
Despite many examples of innovative practice,
learners’ expectations of new technologies and the
opportunities they provide for innovative, low-cost,
self-directed learning must be better understood and
embraced.
20 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
For the formal
system to work better and
be more attractive, it has to
understand and offer a breadth of
genres. We can’t have two worlds –
formal and informal – otherwise
we risk excluding people.
Claire Whitaker OBE - Director of live music producers
Serious and the EFG London Jazz Festival.
The Music Commission Panel member
EVERY CHILD TAKING MUSIC FURTHER 21A Ten-Year Vision from The Music Commission
Retuning our ambition
Our central conclusion is that music education Every young person, regardless of
must now be firmly centred on enabling all young
people to make progress in their musical knowledge, background or circumstances, is
understanding and skills. Over the next ten years, supported to realise her or his full
we believe that this single purpose should drive
musical potential.
strategies, partnerships, delivery and investment in
every area and aspect of music education. Given the diversity and complexity of the music
Young people are listening to music, sharing music education sector, what this report seeks to do is to
and making music as never before. And the ways set out broad ambitions for progression in music
in which they do this are changing radically. The education. Next to these ambitions, in the body of
dizzying variety of what is musically available makes this report, we identify some of the steps that we
the idea of one progression route much more believe need to be taken to achieve them. These
complex than it was in the past. It is also potentially ambitions are expressed as a series of outcomes
much richer as people move through listening, designed to help set a course for the future of music
improvisation and composition to explore their education through the 2020s; a future that is focused
interests. Yet, what we have in music education is on ensuring every music learner has the chance to be
too often an artificial distinction between classroom the best they can be.
music and all other music when it would benefit the Most importantly, we want our findings and
learner far more if these worlds complemented each recommendations to prompt discussion, in schools
other. and communities, between parents and music
We see across the generations the barriers breaking teachers, and amongst arts and music organisations
down between one genre and the next. Because of and policy makers. At the heart of those discussions,
the technological changes by which everything is we want to see questions asked about where we are
available to everybody at the touch of an icon, young heading, how we support all learners to realise their
people in particular have a much more fluid approach potential and what we want music education to look
to tradition and learning. It is vital, therefore, and sound like over the next ten years.
that we find new kinds of structures to support
these developments. It is in this wider educational
landscape within which mixed modes of learning
take place, where people can explore their tastes and
curiosity, where music education must catch up.
In retuning our ambitions, we wish to see the
following goal realised through the collective efforts
of those leading, working in, and supporting music
education:
22 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
Retuning our ambition for music learning: Outcomes for the 2020s
1. Leaders in schools and education are convinced and enabled to put music at the heart of
their students’ learning
2. Every school is supported to provide an effective music curriculum and the provision of a
quality music offer is part of a key performance measure
3. The development of a diverse and skilled music education workforce is extended through
enhanced training of specialist and generalist teachers, and support to enter the profession
4. Financial support is universally available to support music learners to progress beyond first
access
5. More collaborative models of music education are established, involving support for and
between schools and relevant partners to help students to progress in music
6. Parental engagement is supported as a priority from the earliest years onwards
7. Young people are informed and engaged in shaping their own learning pathways and are
involved in the development of music programmes and initiatives
8. New, integrated approaches to the teaching and assessment of learning of music in the
digital age are developed.
EVERY CHILD TAKING MUSIC FURTHER 23A Ten-Year Vision from The Music Commission
What does it mean to make
progress in music?
What it means to make progress in music is many- What can be said about each of these learners is that
faceted. No two journeys, in and through musical three developments in their musical progress are
learning, are the same. Nevertheless, everyone starts taking place, often simultaneously.
from an initial inspiring experience of music, either
Firstly, they are acquiring musical and technical
hearing or performing it.
knowledge and skills, building their understanding of
For most learners, the progress they make is rarely how to make music over time.
linear. People start and stop. They move at different
Secondly, they are applying their knowledge in an
speeds. They find new inspiration from the people
increasing range of contexts, genres, styles and
they meet and the music they experience. But making
pathways. In effect, they are utilising what they are
progress in music is founded on a solid grounding of
learning in different settings, be that in class, with the
how music works, an understanding what it is made
tutor, with friends, at home, or in performance.
of, and the job is to provide the knowledge, the core
fundamentals of music so that young people can do Thirdly, they are developing individuality as a
something with it. musician. As they learn and apply their knowledge
and skills, they gain confidence, become more fluent,
Progress and Progression and their own autonomy increases. They become
A) Progress - to make progress, to get better recognisably themselves, and more assured, in the
at something, to have greater depth of appreciation and making of music. These are the
understanding or breadth of experience three axes along which progress in music is made,
shown in the figure overleaf:
B) Progression - to go from Whole Class
Ensemble Teaching to a school band (etc.), then
to an area band, then a music centre band, and
so on. In other words, to make progress as in
(A) above, and then avail oneself of progression
routes.
Professor Martin Fautley, Dr Victoria Kinsella, Dr Adam
Whittaker. Birmingham City University
For some learners, the journey may develop from
discussing and understanding the essentials of
musical history and composition; for others with
practical skills it will include a series of graded
examinations in which, supported by a teacher, they
prepare technical work, repertoire and supporting
tests, working on a progressive mastery model.
Many others will be making valuable progress in less
formal or structured ways, through local performance
opportunities, extra-curricular school activities, self-
study, community music making and, experimenting
with friends. Technology has made a mixture of these
routes available to all.
24 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
The Three Axes of Musical Progression
AXIS A
A Acquisition of musical and technical skills,
knowledge and understanding over time.
B
AXIS B
Application in an increasing range of
contexts, genres, styles and settings.
AXIS C
Development of self-actualisation as a musician,
C increasing, confidence, autonomy, a recognisable
individual “voice”, authenticity.
To summarise, we have defined making progress in Seen in this way, it starts to become clear that
music as occurring along three axes: learners acquire the knowledge of how music works
precisely through varied opportunities to apply
A. Acquiring musical knowledge and technical skills, that knowledge in different settings, testing what
building an understanding of music, how it works, they are learning in ways that inspire and work for
and how to make music over time them. For progress along these axes to take place
B. Applying those skills in an increasing range of what learners need is to find, and be guided to, the
contexts, genres, styles and pathways; utilising what kinds of opportunities that enable them to achieve
is being learned in different settings, be that in class, their potential in music. This guidance and those
with the tutor, with friends or in performance opportunities should be designed to create an
environment in which the learner can make the best
C. Gaining confidence and individuality, becoming of their abilities and progress their music learning to
more fluent, and increasing autonomy. The learner the full.
becomes more recognisably themselves, and more
assured, in the way they use their instrument and
make music.
EVERY CHILD TAKING MUSIC FURTHER 25A Ten-Year Vision from The Music Commission
What are the conditions for
effective progress to be supported?
For musical progress to happen effectively, we have • Mutually-supportive and resourced peer groups in
set out some conditions we believe should be in which music making and sharing is regarded as a
place. These conditions characterise, and help to normal part of learning, friendship, community and
define, the types and the quality of experiences that everyday life
we believe learners should receive for their musical
• The positive support and encouragement of parents
potential to be fully supported. It is the provision
and carers along the way, and not just in the early
of these conditions that has helped to shape
days of the learning journey
our thinking for the recommendations we make
throughout this report: • An understanding of the opportunities to make
and learn music beyond school formally and
• Acquisition in the early years of a strong set
informally, and to where those opportunities might
of musicianship skills - pulse, rhythm, pitch,
lead in the future
expression, control, creativity, and a sense of
performance, delivered using an aural/vocal • Access to a range of resources such as equipment,
approach, upon which everything else can be built instruments, time, finance, transport, venues;
those necessary to explore, collaborate, acquire,
• Immersion in a rich and inclusive music curriculum
consolidate, improve and use those skills,
that is taught skilfully, passionately, coherently,
knowledge and understanding in and out of school
consistently and continuously over time, in a school
where music and creativity are highly valued, • Increasing integration of the creative resources of
prioritised and regularly celebrated musical organisations into the provision of music
services for all and to serve the needs required and
• Access to a dynamic co-curriculum of instrumental
sought by schools, learners and communities
and vocal learning, with opportunities to learn,
practice and perform in a range of ensembles and • Active support for the principle of partnership
groups pursuing high standards in and out of school funding and investment that can unlock new
resources to support music learning projects.
• Leadership from a skilled, well-trained and
knowledgeable teaching workforce both in and
out of school, that can inspire learning, instil
confidence, provide close technical and musical
input, diagnose what support is required and takes
time to listen and respond to young people’s needs,
aspirations and desires
• A supportive environment for teachers to receive
best-practice training and continuous professional
development to meet the ever-changing needs of
schools and young people
• More partnership and listening to learners, parents,
teachers, schools, and music organisations to
understand individual needs and connect resources
around the learner
26 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
Retuning Our Ambition for
Music Learning: Outcomes for
the 2020s
EVERY CHILD TAKING MUSIC FURTHER 27A Ten-Year Vision from The Music Commission
School leaders have a central role to play in providing
1. the grounding and support for young people to progress
their music education and in commissioning others
Leaders in schools
to contribute to their development. We recognise
that those school leaders who understand the power
of music and its overall role in school life, with clear
and education goals and ambitions for their students, are the ones
that deliver excellent music provision. They also lead
are confident and schools that not only produce the highest levels of
academic attainment but also create vibrant school
communities. There is increasing evidence suggesting
enabled to put that those schools that offer a rich music programme
achieve better results than those that do not10. We
music at the heart see this pattern just as often in schools with fewer
resources and more challenging socio-demographics.
of their students’ We believe that, in the coming years, it is essential
that school leaders have both incentives and compelling
learning. evidence to place music at the heart of their offer to
their students and to be able to recruit and develop
the specialist and generalist teachers who will enable
music to flourish as a key curriculum subject and to
support all students to achieve their musical potential.
However, unless a head teacher decides that music
has a central place in the life of the school it can only
happen on the periphery. In England, the introduction
of EBacc is seen as one contributor that is quoted
as a reason not to give music a central place. This
is why leadership is so critical. We have reviewed a
growing body evidence suggesting that, in England,
the introduction of EBacc is having a detrimental
impact on equality of access to Music in secondary
schools and on the numbers of young people taking
the subject further, to GCSE and ‘A’ level. We firmly
believe that Music should be a core curriculum
subject, though we realise that this may not be
possible in the short term nor will it alone solve the
challenges we have set out.
28 RETUNING OUR AMBITION FOR MUSIC LEARNINGA Ten-Year Vision from The Music Commission
39% of school
leaders have had to cut
back lesson time, staff or
facilities for music ‘A’ level
over the past two years.
Survey for the Association of School and College
Leaders, 201811
A survey of over
13,000 American
students show high school
students who participate in
music achieve higher grades
in English, Math, History, and
Science than those who did not
participate.
National Centre for Educational Statistics13.
Students taking
music for A-level has
dropped by 25.4% since 2014,
compared to a decline of 2.6%
in A-level entries overall. A 15.1%
decline in the uptake of GCSE
Music since 2016. In the past
year, there has been a 7.4% drop
in the number of GCSE entries in
Music.
JCQA, 201812.
EVERY CHILD TAKING MUSIC FURTHER 29A Ten-Year Vision from The Music Commission
Music as a school subject, therefore, must make
a much more compelling case to all who benefit: Our ten-year ambition
students, parents, teachers, head teachers, school
governors and government. It is also important that
would see:
the case for music is made in language and terms • National Centres for Leadership in Music
that head teachers and school governors understand. Education, established through the nomination
Policy makers also appear to lack powerful, evidence- of lead organisations in respective countries,
based arguments for the value and worth of music in working in partnership with teacher training
terms of pupil development and school performance. bodies, institutions of tertiary education and
We believe that, in the coming years, the music wider leadership programmes in education to
education sector, its organisations, advocates and embed and develop leadership skills in the music
practitioners, must redouble their efforts to promote education sector
the evidence for music as a force for personal, social
and economic growth. • The appointment national of Music
Champions, working with each of these Centres
Meanwhile, those agencies that support music
to promote music education, progression and
in schools and provide opportunities for music
quality in the teaching and learning of music;
education to thrive in the wider community equally
to encourage stakeholders to work effectively
have a responsibility to seek continuous improvement
together; to advise governments on action they
and innovation in their offer to keep pace with the
and others could take to encourage a more
needs and expectations of those learning music in
conducive environment for music education;
the 21st century. To do so, investment in the capacity
and to motivate schools to place music and
and capability of their leadership will improve their
creative education at the heart of their offer
effectiveness and ambition.
Leadership at all levels in music education is therefore • Music in Schools Awards. The development
key to music education continuing to succeed in of schemes, building on existing initiatives, to
and outside of our schools. Vision, enterprise and recognise and celebrate best practice in schools
innovation will make the difference that we and built upon simple and readily evidenced criteria
others seek in returning the learning of music to the such as having a specialist music teacher; an
heart of every child’s education. Musicians, ministers, attached musician, composer or ensemble;
civil servants, school inspectors, local authorities’ engagement of the local music bodies in
governors, head teachers, school teachers, music supporting progression; weekly timetabling of
organisations, local leaders, teacher trainers, music within the core curriculum; extra curricula
parents, independent and peripatetic music teachers, choirs and ensembles; and support for students
institutions of higher and further education can, and parents at points of transition.
and should be encouraged and supported to take
practical steps forward, however great or small. The
challenges facing music education will not solely be
addressed by new investment or demanding action
of governments. It is a matter of leadership, and all
stakeholders have a part to play.
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